Archive-name: martial-arts/faq/part1
Last-modified: 29 August 1996

Posting-Frequency: twice per month

                  rec.martial-arts FAQ - Part 1 of 2
                  ==================================

This FAQ is based on previous versions of the FAQ maintained by Izar
Tarandach and Alex Jackl.  The current maintainer of this FAQ is Randy Pals
(pals@ipact.com).  

The rec.martial-arts FAQ and Newbie Guide are available on rtfm.mit.edu in
the directory pub/usenet-by-hierarchy/rec/martial-arts, with the filenames
rec.martial-arts_FAQ_part_1_of_2, rec.martial-arts_FAQ_part_2_of_2, and
rec.martial-arts_Newbie_Guide.

===============================================================================

		Topics Contained in this FAQ
		====== ========= == ==== ===

Part 1 of 2

     1) Introduction.

     2) What is a Martial Art?

     3) What kind of Martial Arts are there?  (the descriptions of the 
        various arts are in section 16, which is in part 2.)

     4) Which Martial Art should I study?

     5) How do I choose a School?

     6) (a) This guy says that his style will make a Full Certified Warrior & 
	    Killer out of me in 3 months- is it serious?

	(b) What do I do to become the deadliest person in the world ?

     7) Should children study Martial Arts?

     8) I believe/don't believe in X.  Should I train Y?

     9) Rankings/Color Belt Systems

    10) What is Greenoch?

    11) What is Ki/Qi/Chi?

    12) Martial Arts Glossary

    13) Bibliography

    14) Sources of information

        14.1)  Martial arts schools in North America
        14.2)  FAQ ftp site
        14.3)  Aikido Dojo Directory
        14.4)  Classical Japanese Martial Arts Electronic Magazine
        14.5)  Traditional Karate Mailing List
        14.6)  Aikido Mailing List and FTP Site
        14.7)  Tuite/Acupuncture Discussion Group
        14.8)  The Martial Arts Digest
        14.9)  Jujutsu and Kokikai Aikido Mailing Lists
        14.10) Japanese Sword Arts Mailing List and FTP site
        14.11) Chinese Shao-lin Center Electronic Mail List  (CSC-List)
        14.12) Martial Arts and Sword/TV and Film Mailing List
        14.13) Tai-Chi Mailing List
        14.14) Neijia (Internal Chinese Martial Arts) Mailing List
        14.15) Kyudo (Zen Archery) Mailing List
        14.16) "The-Dojang": Korean Martial Arts Mailing List
        14.17) Eskrima/Kali/Arnis Mailing List
        14.18) Martial Arts WWW pages
        14.19) Kung Fu Mailing List

    15) Sources of equipment and material.

    16) What are the different Arts, Schools, Styles?

16.1)  Aikido         16.2)  Bushidokan         16.3)  Capoeira
16.4)  Cha Yon Ryu    16.5)  Coung Nhu          16.6)  Hapkido
16.7)  Hsing Yi       16.8)  Hwa Rang Do        16.9)  Iaido
16.10) Judo           16.11) Jujutsu            16.12) Kajukembo
16.13) Kali/Escrima/Arnis

Part 2 of 2

16.14) Karate         16.15) Kendo              16.16) Kenjutsu 
16.17) Kenpo (Amer.)  16.18) Kempo (Ryukyu)     16.19) Kobudo 
16.20) Krav Maga      16.21) Kung Fu/Wu Shu     16.22) Kyudo  
16.23) Lua            16.24) Moo Do             16.25) Muay Thai
16.26) Ninjutsu       16.27) Pau Kua Chang      16.28) SAMBO
16.29) Savate         16.30) Shuai-Chiao        16.31) Silat
16.32) Tae Kwon Do    16.33) Tai Chi Chuan      16.34) Wing Chun

    17) The people that made this list possible.

===============================================================================

1) Introduction


This FAQ is not intended to be a Martial Arts Bible, but to give some
help to those that are looking for a place to start, or those more
experienced that would like to know more about some different style, have a
particular doubt, etc.

Please note that this is not the Absolute Truth(TM) but rather an attempt
to give clear and basic information about this group and the martial arts.
Your suggestions, opinions, and additions are welcome; send e-mail to
pals@ipact.com. 

Here are the items in the original rec.ma "charter" as they appeared
in the request for discussion before the group was formed:

 1) A new group proposal for the discussion of all aspects of the
    martial arts, both by martial arts practitioners and the general
    public interested in knowing more about the martial arts community. 

 2) Increasing public awareness of the commitment of martial artists 
    to public service, for example the D.A.R.E. program, its use in 
    rehabilitation of prisoners, recovering substance abuse users, rape 
    prevention, and increased quality of life for the handicapped.

 3) Personal experiences, anecdotes, myths, and folklore pertaining to 
    the martial arts and information on the existance or location of a 
    specific item, style, form, system. 

 4) Postings of events, competitions, demonstrations, and seminars. 

 5) ANY/ALL bigotry, grudge challenges must be E-mailed! 

Rank does not mean authority in rec.m-a, for rank without wisdom means
nothing.  There may be wisdom in the words of a child, and even a 5th dan
can be a fool. 

Please do not post binaries (pictures, etc.) in the group.  A better way
is to post the binaries in a binaries group, and post a message in
rec.m-a calling attention to the binaries post.
 
One more thing.  Please don't post the question "What is the best martial
art [for self-defense]?" (or similar) in rec.martial-arts.  That question
has become a chronic irritant in this group, and there is no simple answer
to it; some would say it has no answer at all.  There are reasonable
procedures for how one should go about choosing an art/school here in the
FAQ, and in another rec.martial-arts periodic post, the Newbie Guide.  Read
them first, then consult the group if you have more specific questions. 

==========================================================================

2) What is a Martial Art?

A Martial Art can be defined as a system of techniques, physical and mental
exercises developed as an effective means for self-defense and offense,
both unarmed and with the use of weapons. 

The origin and history of Martial Arts is a controversial issue.  We can
see signs of Martial Arts in Greek, Egyptian, African, Japanese, Chinese,
Thai, as well as other cultures.  There is a clear trail leading from the
Southern China-regions up to Korea, Okinawa and Japan.  The details before
that, and the exact details of that transfer, are greatly debated by
historians and Martial Artists. 

===============================================================================

3) What kind of Martial Arts are there? 

There are many ways in which martial arts can be divided.  Here are 
a few of them that might be useful to use in defining Martial Arts and 
discussing them.  These are not necessarily consensus definitions but they 
are commonly held.  

It is also useful to remember that very few of these martial arts are just 
one way or another...they are all mixtures of these elements in various 
degrees.  When we say a style is "hard" what we mean is that the predominant
expression of that style is hard.  If we say Shotokan is linear, it does
not mean Shotokan has no circular techniques.

"Sport" vs "Fighting Art" vs. "Exercise" vs. "Philosophy"

These are usually NON-useful comparisons because people tend to be very
strongly opinionated on this matter.  Most people want to think their art
is an ancient "fighting art" and can be applied thus on the street.  Some
styles truly are all four, and to some degree all styles contain all four
elements. 

In discussions of a style it is most useful when people highlight which
area or areas their style emphasizes. 
	
"Linear" vs. "Circular"

This distinction refers to lines of movement, attack and defense.
"Circular" styles use circular movements to block, attack, or move.  Around
and aside... "Linear" styles use direct, straight-on movements, attacks, or
head-on blocks.   In and out... 

Styles can, and sometimes do, mix circular blocks with linear attacks.
This is a subtle distinction and not absolute, but it gives some
information. 

"Soft" vs. Hard"

"Soft" styles tend to redirect energy, channeling and diverting momentum to
unbalance an opponent, or to move them into striking range.  They tend to
be lower commitment and use less force.  Thus, they are less likely to be
unbalanced and can recover from redirection easier.   Examples are Tai Chi,
Aikido, Ninjutsu, or many Kung Fu styles and sub-styles. 

"Hard" styles tend to direct energy outward and meet energy with energy. 
They will tend to strike more, and deliver more force with each strike. 
Hard stylists will often damage with their blocks, turning them into
attacks. They deliver more power, and thus are harder to turn aside, but
they are higher commitment, and thus don't recover as well from mistakes. 
Examples are Karate, Tae-Kwon-Do, Muay Thai, and some Kung Fu styles and
sub-styles. 

"Internal" vs. "External"

"Internal" styles are styles that emphasize the more non-tangible elements
of the arts.  They utilize chi/ki/qi flow, rooting, and those elements
which some people consider "mystical".   They tend to emphasize meditation,
body control, perception, mind control (self, not others!), and pressure
points.  `Typically' internal styles are soft.  Tai Chi is an internal
style. 

"External" styles tend to emphasize body mechanics, leverage, and applied
force.  They tend to use weight, strength, positioning, and anatomy to
optimal advantage.  `Typically' external styles are hard.  Tae-Kwon-Do is an
external style. 

"Complete Art" or not

The term "complete art" is sometimes applied to arts that include strikes,
kicks, throws, pressure points, and joint locks.  The arts most often
mentioned in this regard are some Kung Fu styles, Jujutsu, and Hapkido. 
Although some arts contain more techniques than others, no art is
"complete" in the sense that it includes all the important techniques from
other arts.  In general, every art has its strong and weak points, and each
has something to offer to the lexicon of martial arts techniques. 

===============================================================================

4) Which Martial Art should I study?

That's a question that only you can answer, maybe with a little help of
your physician (in determining whether you should practice martial arts at 
all).

While some people advocate that "my style fits any individual", it is 
very debatable if any single individual would adapt to *any* style.  

It depends heavily on your objectives, but remember, these may change with 
time.  Many people who begin martial arts training strictly to learn 
self-defense become quite interested in other aspects as their training 
progresses.

(a) What are you looking for?

For instance, if you are looking for on the street self-defense 
training Tai Chi or Kendo might not be your first choice.  
Some choices:   Jujutsu, Hapkido, some Kung Fus, Karate, Kenpo (or Kempo),
		Tang Soo Do, Muay Thai, Tae-Kwon-Do, Ninjutsu, Kali, or 
                Silat.

If you are looking for meditation and philosophy Western Boxing
is probably a poor choice as well.
Some choices:   most Kung Fus, Aikido, Tai Chi, Kendo, Kenjutsu, or Iaido.

If you are looking for a sport and competition, Shao-Lin Long Fist
would probably be a bad choice.
Some choices:   Fencing, some Karates/Kung Fus, Judo, Boxing, Kendo, 
		Tae-Kwon-Do, and Savate.

If you are looking for intense body conditioning and muscle 
development, Aikido is probably not the style for you.
Some choices:   some Okinawan Karates, Judo, some Kung Fus, 
		Muay Thai, Tae-Kwon-Do, Capoeira.

Now these are general guides- in truth any art can be taught in a manner
which promotes any of these things- Tai Chi masters have competed, some
Aikido schools have rigorous workouts associated with the class, etc. The
way to find out is to look at three things, only one of which is directly
linked to the style. 

-The basics of the style (what does it teach, what is it used for) 
-The skill and the teaching style of the teacher 
-The purpose and the logistics of the school. 

See Section (5) "How do I choose a school" for the answers to the last 
two questions.

Also remember that more "complete" arts (ones with more techniques)
naturally require longer periods of time for a practitioner to achieve a
given level of proficiency.  This is neither good nor bad; there are good
points on both sides of the debate.  This is simply another facet to
account for in your decision. 

(b) Advice of many experienced Martial Artists here on NetLand coincide in
    the point of "go, read, look around, ask---then decide".

As above the teacher and the school have as much to do with what you will
learn as the style.  Check out the styles in your area. Go see some classes
of the different styles and see what interests you and what you think you
would stick with. 

(c) Many people change from one style to another.  While this is a common
practice, accepted as a means of development, it is known that the first
style is normally the one that leaves the base, the more profound "marks". 
Try to choose a style that suits your needs and at the same time offers you
a kind of "challenge" to go on learning. 

===============================================================================

5) How do I choose a School?

This question is integrally linked with Question 4 "Which Martial Art should 
I study?".

A couple of things that are important parts to look at in the process of 
choosing a school:

	-The environment where you'll learn and train
	-The people that will be your partners
	-The instructor
	-The logistics of the school

(a)     The environment where you will learn and train

Don't get impressed by the size of the place- just be sure that you feel
"ok" in there. 

Also don't necessarily be impressed by huge number of trophies.  They may
indicate a very successful competitive school (if that is an aspect you are
interested in) or they could be all show.  Check carefully. 

If you are not allowed to watch any classes, you may not want to invest
your time and money.  Without seeing a class you will not be able to get a
good feel for the school. 

Ask questions- don't worry about looking stupid or asking the "wrong"
question.   They are going to be teaching and training you- you want to get
any concerns or considerations you have out before you commit to anything. 

If you feel bullied or threatened in any manner, look somewhere else. 

(b)     The people that will be your partners 

Go, watch some classes (without participating), then ask to participate-
see if the behavior of the students changes by the fact that there is a new
person in their class. 

What follows is a quick and dirty check list, to which you can add your own
points, based on what you consider important.  Remember: these questions
and suggestions are just guidelines, not hard and fast rules. There will
always be exceptions.  But if you look in these domains you will have a
solid ground to choose from. 
 
	- How good are the students?

This is more of a measure of the quality of the students as students than
their skill at martial arts.  See if you can picture yourself with these
people.  Are they attentive, respectful, interested in being there? Those
are all good signs... 

	- Is there a mix of upper and lower ranks? 

This is not always obvious in the styles without belt rankings, etc. It is
generally a good sign if advanced, intermediate and beginning students are
practicing together.  Check the approach the higher ranked students take to
you- their help will probably be very important in your advancement in the
Art you choose. 
 
Some schools have classes separated by rank though.  Ask. 

	-Is there a mix in the type of people in the class? 

Although this doesn't necessarily mean anything if it is not present, it is
a good sign if there is a mixture of males and females, older and younger
people in the class.   It is a pointer to the efficiency of the Art if it
can teach a wide variety of people together. 

	- Do they move the way you would like to?

This will give you some sense of what you can achieve.  Look to the senior
students and see if they move the way you want to move. 
     
	- Do they help one another? 

In a small class this may not apply, but in larger classes it is a good
sign if the senior students support and assist the junior students. This
kind of personal attention will aid you greatly in your training. 

	- Do the senior students seem fit and relaxed? 

This will give you a sense of the atmosphere of the school.  If the senior
students are uptight, nervous, unfit, out of shape, or unhappy, it may be a
sign to move on.  However, do not be put off by a single occurrence, i.e.
because on THAT day the senior student was in a poor mood.  It should at
least prompt you to look carefully though... 
	
	- How common are injuries?

As most martial arts involve vigorous physical activity and contact,
injuries will occasionally occur.  However, if injuries are common and/or
serious, there is likely a problem in how training is supervised, and you
will probably want to look elsewhere.  It will be difficult to tell what
the frequency/severity of injuries in the class is in one or two visits. 
Ask the instructor. 

(c)     The Instructor

-You'll need some basic trust in the individual, as a beginning.
 
The instructor is the person who is going to be guiding your development as
a martial artist.   You need to feel comfortable with him or her, and feel
secure in receiving instruction from them. If you have some unease or
personality conflict with the instructor(s) you might want to look
elsewhere. 

	- Do the students get personalized attention? 

This will be a good judge of how valuable your time will be.  If there is a
good amount of instructor to student attention there will be more value for
you. 

	- Does the instructor differentiate between forms and function? 

Another good indication is to find out if the instructor(s) differentiates
between form and function.  In other words do they do it "because it looks
good" or "because it works."  This may not apply if you are looking for a
martial art as a performance art or as an exercise (though then you want to
look at the efficacy of their exercises...) 

	- Does the instructor(s) differentiate between tournament and    
	   self-defense? 

As above, your reaction to this question's answer will depend on what your
goals are.  However, there is general agreement that tournament training
and self-defense training, while highly related, are different. If the
instructor does not differentiate the two- that may be a danger sign! 

	- Violence in the class 

If you see an instructor hitting students, or a senior student hitting
students, be very clear that it was appropriate before you consider that
school.  Though be aware - if you are unfamiliar with the art, medium or
full contact sparring may seem overly violent to you.  Violence as
discipline is to be avoided. 

	- Are adjustments made for students of differing body types and
	  limitations? 

Another good sign is if the instructor adjusts the training of his or her
student's physical realities:  telling a slow person to work contact, a
fast person to work ranges, a heavy person to work leverage, a light person
to work speed, or, conversely, concentrating on their weak areas to
compensate. 

(d)     The logistics of the School 

	-Money 

This is an important element to be clear about.  You don't want to commit
to a school if you can't afford it.  It is impossible to address what a
reasonable price would be here, because the benefits offered, the local
economy, the quality of instruction, and the amount of instructor time are
all variables in the equation. 

Find out if there are extra charges for going up in rank, find out if there
are organizational dues, tournament fees, mat fees, etc. 

But do not be upset when a Martial Arts instructor charges money- they need
to eat and have a place to stay.  In our culture money is the way that
happens.  We do not feed and house wise old men.  Now, some instructors,
especially around colleges, or who have big garages;-) teach for free after
their primary job.  However, the costs of a school, equipment, and
insurance are frighteningly high.  The best way to determine if a school is
being reasonable is to compare what they offer for the price compared to
what other local schools offer for their prices. 

	-Location 

If you are intending to spend a lot of time at the school you want it to be
accessible, and convenient enough for you to get their after work, on
weekends, etc. 

	-Classes 

Another thing you want to be clear on is when you can go to the school and
when classes are.  Some schools are open almost all the time and have lots
of classes.  In some schools you can only come when an official class is
being held. An open school is usually better for obvious reasons-
convenience, practice time, access to mats, etc. 

	-Commitments and Promises 

This is an important thing to know about any school you will be joining. Be
very clear on what they will expect of you and what you expect of them. 
Some teachers want to teach only people who are willing to commit to them
and their style, some are willing to introduce you to their style and let
you dabble, some will teach you as long as you show up. None of these are
intrinsically better or worse, but you want to know where they are coming
from so you and they are not surprised. 
     
Find out if you are required to attend classes, find out about being late,
find out what the policy is on school rules of behavior and etiquette. 
Find out how you are supposed to interact with the teacher and other
students.  There are many styles for all these things so make sure you find
out.  The easiest way is to ask these questions. 

There may be other questions you want to look at and specific questions you
have about an instructor, school, organization, or style you are looking
at. Know the questions you want answered and you will find the perfect
school for you! 
     
===============================================================================

6)

(a)     This guy says that his style will make a Full Certified Warrior & 
	Killer out of me in 3 months---is it serious?

     In short: NO.

First off, while many people enter the Way of the Martial Arts trying to be
the deadliest people in the world, it is not true that the final objective
of most, if any, Arts is this.  Many Masters say that the best battle
someone can win is one that he doesn't fight.  Most martial arts are not
designed to make you an instant killer. 

Secondly, don't expect any miracle to come down on you, any light to come
through your window in the night and make you the most skilled fighter- it
all depends on your dedication, on your objectives, and on the amount of
training you get.  Any school that promises to teach you to be an "expert"
in less than two years (at the lowest minimum) is probably a scam.  General
net consensus seems to be that results can be seen within a few months but
the elusive "MASTERY" is the product of YEARS and YEARS of dedicated work.
Don't be fooled by false promises. 

(b)     What do I do to become the deadliest person in the world ? 

In brief: You can't.  While a Martial Artist does learn combat skills, the
final objective of a Martial Art is not to become the deadliest person
alive. 

The Martial Arts recognize there will always be someone who is bigger,
stronger, faster, has a bigger knife, a more powerful gun, a longer range
missile, and so on.  The objective, then, is to become the best that you
can be, regardless of how good anyone else is. 

===============================================================================

7) Should children study Martial Arts?

In general, yes.  Some of the possible positives would be control of
agressiveness, instilling self-respect and self-control, as well as
self-defense. 

The style that a child should take is a totally different question, and is
directly influenced by the style, if any, of the parents.  It will of
course be convenient if the child can practice with, or at least in the
same school as, the parents.  The major issue with children in the martial
arts is the integrity and trustworthiness of the teacher and the school. 

The joints and connective tissues of children are more vulnerable to injury
than those of adults.  Keep this in mind when selecting a style and school
for a child, and discuss it with the instructor.  Schools which allow
agressive joint locks to be applied to children or don't train them to
refrain from snapping/hyper-extending elbows on strikes and knees on kicks
should be avoided.  (It is for this same reason that good baseball coaches
will not allow young pitchers to throw pitches which require hard snapping
of the arm - like curve balls).  Throws, however, are quite different; the
small size of children makes them naturals for arts which require falling
down. 

===============================================================================

8) I believe/don't believe in X.  Should I train in Y?

Some martial arts have philosophical and/or religious roots or 
associations, e.g. with Buddhism, Taoism, or Omotokyo.  Thus, it is
natural for people who are considering a particular art to wonder if
it is compatible with their own philosophy or religion.

Normally it is not considered ethical for a Sensei/Sifu/Master/Teacher
to try to *impose* his own views on his students.  However, the
philosophical aspects of some arts may still be present in the
required training to the extent that some potential students would be
offended by it.  As with so many other aspects of martial arts, it depends 
on the art and even more heavily on the instructor.  So, be sure to watch 
for this aspect when you visit a school that you are interested in.  Have 
a conversation with the instructor about it, and watch how he/she 
interacts with his/her students. 

===============================================================================

9) Rankings/Color Belt Systems

Many arts have a ranking system.  A typical ranking from beginner to most
experienced master is: 10th kyu, 9th kyu, ..., 2nd kyu, 1st kyu, 1st dan,
2nd dan, ..., 10th dan.  "kyu" and "dan" are Japanese words; Korean systems
use the word "gup" instead of "kyu".  1st dan and above frequently wear
black belts. 

That being said, do not put too much stock in rankings, and put even less
in belt color.  Belt colors are HIGHLY dependent on the art, school, and
instructor.  Some arts don't have any belts.  Some have only white and
black.  Some have white, brown, and black.  Some have a rainbow.  Some
instructors hand out rank/belts like candy, others are very stingy.  A
given color will frequently signify different ranks in different arts.

Rather than rank or belt color, what will determine an individual's skill
are how long and how intensely they have studied, the quality of
instruction they have received, and (to a lesser extent) their "natural"
ability. 

A brief history of kyu/dan ranking systems and belts, contributed by
Steve Gombosi (sog@rainbow.rmii.com), is given below:

Before Jigoro Kano invented Judo, there was no kyu/dan ranking system. 
Kano invented it when he awarded "shodan" to two of his senior students
(Saito and Tomita) in 1883. Even then, there was no external
differentiation between yudansha (dan ranks) and mudansha (those who hadn't
yet attained dan ranking). Kano apparently began the custom of having his
yudansha wear black obis in 1886. These obis weren't the belts karateka and
judoka wear today - Kano hadn't invented the judogi (uniform) yet, and his
students were still practicing in kimono. They were the wide obi still worn
with formal kimono. In 1907, Kano introduced the modern gi and its modern
obi, but he still only used white and black. 

Karateka in Okinawa didn't use any sort of special uniform at all in the
old days. The kyu/dan ranking system, and the modern karategi (modified
judogi) were first adopted by Funakoshi in an effort to encourage karate's
acceptance by the Japanese. He awarded the first "shodan" ranks given in
karate to Tokuda, Otsuka, Akiba, Shimizu, Hirose, Gima, and Kasuya on April
10, 1924. The adoption of the kyu/dan system and the adoption of a standard
uniform based on the judogi were 2 of the 4 conditions which the Dai-Nippon
Butokukai required before recognizing karate as a "real" martial art. If
you look at photographs of Okinawan karateka training in the early part of
this century, you'll see that they were training in their everyday clothes,
or (!) in their underwear. 

Most other arts that have ranking/belt color systems adopted them from the
Japanese.

===============================================================================

10) What is Greenoch?

The truth is: Greenoch doesn't exist.  It first appeared in a post by
someone satirizing the "my School is better than your School", "my
Sensei/Sifu/Master is better than yours" syndrome that sometimes comes up
in this group. 

===============================================================================

11) What is Ki/Qi/Chi?

There are no absolute right answers to this question.  Instead of giving the
one true answer to this, below are several different opinions.

(a)     Ki doesn't exist.  Everything the ki model tries to explain can be
	explained with body mechanics, biophysics, and psychology.  There 
	is no need to postulate some mysterious force.  Science can explain it.

(b)     Ki exists absolutely.  Ki is an energy, a living force, a spirit that
	can be used to increase your strength, throw people around, etc. 
	Subjective experience shows that ki is real.  It may either be a
	bio-kinetic phenomena science doesn't understand yet or the power of
	the mind in union with the body.

(c)     Ki may or may not "really" exist.  It is a useful model.  The ki model
	allows you to visualize how to increase your strength, throw people 
	around, etc.--it doesn't matter if it exists or not.  If someone 
	invents a better model (i.e. one that is easier to visualize), then 
	maybe we'll switch to it.

Of the styles that stress ki, some work on developing the flow of ki within
their bodies.  An example of this approach is Tai Chi Chuan.  Other styles
work on letting the ki of the universe flow through them. 

===============================================================================

12) Martial Arts Glossary

English:

	sparring        -- training with another person using actual blows

Japanese:
	atemi           -- a punch
	do              -- way
	dojo            -- training hall
	gi              -- uniform worn when training
	kata            -- prearranged series of movements
	ki              -- energy, living power, spirit
	kumite          -- sparring
	jutsu           -- art
	randori         -- multiple-person attacks
	sensei          -- teacher

	Ichi (ee-chee)          -- one
	Ni (nee)                -- two
	San (sahn)              -- three
	Shi (shee)              -- four
	Go (go)                 -- five
	Roku (row-koo)          -- six
	Shichi (shee-chee)      -- seven
	Hachi (hah-chee)        -- eight
	Kyu (cue)               -- nine
	Ju (joo)                -- ten

Korean:
	dobak           -- uniform worn when training
	dojang          -- training hall
	poomse          -- prearranged series of movements
	qi              -- energy, living power, spirit (same as chi)
        sohgi           -- stance
        chagi           -- kick
        chirugi         -- punch
        makki           -- block
        kyuroogi        -- free sparring
        gup             -- grade
        kihap           -- yell
        sah-bum-nim     -- master

	Hah Nah         -- one
	Dool            -- two
	Set             -- three  (don't aspirate
	Net             -- four    the "t"s)
	Dah Suyht       -- five
	Yuh Suyht       -- six
	Il Gop          -- seven
	Yah Duhl        -- eight
	Ah Hope         -- nine
	Yuhl            -- ten

Chinese:
	chi             -- energy, living power, spirit (same as qi)
	sifu            -- teacher

     Mandarin  Cantonese

	yi      yut     -- one
	e'r     yee     -- two
	san     som     -- three
	sz'     say     -- four
	wu      ng      -- five
	lyo'u   look    -- six
	chi     chut    -- seven
	ba      bot     -- eight
	jyo'u   gau     -- nine
	sh'r    sup     -- ten

===============================================================================

13) A small bibliography:

	_The Original Martial Arts Encyclopedia: Tradition, History, 
	 Pioneers_.  Corcorn/Farkas.  Pro-Action Publishing.
         ISBN Number:  0-9615126-3-6

	_Go Rin No Sho---The Book of the Five Rings_.  Miyamoto Musashi

	_The Essence of Ninjutsu_.  Dr. Masaaki Hatsumi

	_Budo Jiten_, 2nd Edition.  F. J. Lovret (72727.257@CompuServe.com).
        Taseki Publishing.

	_Comprehensive Asian Fighting Arts_.  Draeger & Smith
         Publisher: Kodansha International ISBN Number: 0-87011-436-0
         ISBN Number in Japan: 4-7700-0913-5

	_The Art Of War_.  Sun Tzu
	 This book can also be found "on-line" at:
	 ftp://mrcnextr.cso.uiuc.edu/etext94/sunzu10.txt

	_Zen in the Art of Archery_.  Eugen Herrigel

	_The Bible of Karate:  Bubishi_, translated with commentary by 
         Patrick McCarthy.

	_Okinawan Karate_.   Mark Bishop

	_Karate-Do, My Way of Life_.  Gichin Funakoshi

	_Karate-Do Nyumon_.  Gichin Funakoshi

	_Karate-Do Kyohan_.  Gichin Funakoshi

	_The Student's Handbook_.  Frederick Lovret

	_The Filipino Martial Arts_.  Dan Inosanto

	_Absorb What is Useful_.  Dan Inosanto

	_Budo_. Morihei Ueshiba

	_Zen in the Martial Arts_.  Joe Hyams

        _The Martial Artist's Book of Five Rings_, Translation by Hanshi 
         Steve Kaufman, Charles E. Tuttle Company, Inc., 1994.

     In general, books from the Kodansha Editors carry a reputation of being
     serious and at the same time direct and objective.

Publishers:  

            Pro-Action Publishing
            A Division of Pro-Action Sports, Inc.
            1717 N. Glendale Bl.
            Los Angeles, CA 90026

            Kodansha America, Inc.
            114 Fifth Ave.
            New York, NY 10011
            212-727-6460
            Tel. Orders: 800-631-8571 [Visa, American Express, Mastercard only]

            Taseki Publishing Co.
            3579 Ruffin Road #205
            San Diego, CA  92123
            619-278-1348

===============================================================================

14) Sources of information

14.1) Martial arts schools in North America

     Soke John J. Williams
	Box 2335
	Station A
	Moncton, NB
	E1A8J3
	Canada          (506) 382-6349

  Soke Williams is affiliated with the International Martial Arts (League
  IMAL).  They maintain a large catalog of martial arts schools in North 
  America.  Write or call.  Simply state that you were referred to him as such 
  a source and are in need of MA schools/instructors in whatever part of the 
  country you are interested in. 


14.2) FAQ ftp site

The rec.martial-arts FAQ and Newbie Guide are available on rtfm.mit.edu in
the directory pub/usenet-by-hierarchy/rec/martial-arts, with the filenames
rec.martial-arts_FAQ_part_1_of_2, rec.martial-arts_FAQ_part_2_of_2, and
rec.martial-arts_Newbie_Guide.


14.3) Aikido Dojo Directory

The Aikido Dojo Directory, ftp'able from  cs.ucsd.edu 132.239.51.3.


14.4) Classical Japanese Martial Arts Electronic Magazine

_Budo Shinbun_ is an entirely electronic magazine devoted to the classical
Japanese martial arts.  It runs under Windows 3.1 and higher, and is
complete with pictures.  It is entirely automatic, and requires only that
the subscriber tell it to "get new" and it will obtain the latest articles
(mail too) for reading off-line.  It is NOT a BBS.  Available from Taseki
Publishing (address & phone number above).


14.5) Traditional Karate Mailing List

Another discussion forum, this time a bit more specialized, is the 
Traditional Karate Mailing List, maintained by Howard S. High, of which
we include some of the Charter:

Charter for the Traditional Japanese/Okinawan Karate Group
List Name: KARATE

PURPOSE:

The purpose of this group is to provide a forum for individuals who
practice one or more of the traditional Japanese/Okinawan Karate styles to
share information and discuss issues.  This is the first "CYBER-Dojo" as a
training supplement to Karate.  The list is un-moderated, with restricted
membership. 

MEMBERS: 

Application for membership is open to any individual who practices
traditional Japanese/Okinawan Karate (teachers and students). An exception
to this rule will be for those individuals who follow the traditional
values but does not belong to a traditional school due to reasons beyond
the individual's control.  Another exception is for individuals who have
not yet selected a martial art to follow.  This list can help such
individuals choose their path. 

APPLICATION PROCESS: 

A prospective member will send a subscription command to the LISTSERV Host:
 LISTSERV@UKANAIX.CC.UKANS.EDU 

command:  subscribe karate <firstname_lastname> 

The Host will forward an automatic reply which includes the questionaire
and the Principles of Conduct.  After completing the application, the
prospective member will forward the application to: 

dojo@ukanaix.cc.ukans.edu

use Subject:  PLEDGE 

The questionaire will be reviewed by the listowner.  After review, the list
owner will either request more information from the applicant, send a
Welcome Letter to the new member, or advise the applicant why the
membership was not approved. 

If anyone wants to get an updated calendar of karate events, they can use
the "FINGER" utility on the internet to view Howard's calendar: 

  finger godzilla@kuhub.cc.ukans.edu |more

and use the screen capture command on their system to download the information.


14.6) Aikido Mailing List and FTP Site

There is also the Aikido FTP site: 132.239.51.3, and the Aikido Mailing
List, with this info from Gerry Santoro:

Because of popular demand I have established a LISTSERV conference for
people wanting to talk about Aikido.  The name of this group is 

AIKIDO-L@PSUVM   (for bitnet users)
AIKIDO-L@PSUVM.PSU.EDU   (for Internet users)

The purpose of this group is open, public discussion of Aikido.  Sharing,
understanding and and mutual respect are encouraged.  Flaming and arguments
(such as 'my style is better than your style') are discouraged. 

To join the list, send an interactive message (if you are on bitnet) or
email (if you are on Internet) to either:

 LISTSERV@PSUVM  (bitnet)
 LISTSERV@PSUVM.PSU.EDU  (Internet)
 with the message:

 SUBSCRIBE AIKIDO-L 'your full name'

Then you will start getting email from the list.  To participate in the
list once subscribed you simply send email to AIKIDO-L@PSUVM or
AIKIDO-L@PSUVM.PSU.EDU. 

For example, I subscribed with the following command:

SUBSCRIBE AIKIDO-L Gerry Santoro

Although I am list owner I intend for this to be an unmoderated list. I am
providing this as a public service and to spread word about Aikido.  Please
don't expect me to referee discussions. (:-) 

<bow>

Gerry Santoro
Academic Computing/Speech Communication
Penn State University
Aikido Kokikai Penn State


14.7) Tuite/Acupuncture Discussion Group

There is a Tuite/Acupuncture Discussion group, with this information from
Erik Hatcher (esh6h@fulton.seas.virginia.edu).

Tuite/Acupuncture Discussion Group

PURPOSE:

The purpose of this group is to provide a forum in which the theories of
traditional Chinese medicine can discussed mainly in relation to the
martial arts. 

The list is un-moderated, with restricted membership. 

How to apply for membership: 

All memberships are approved by the group administrator.  Membership is
open to any open-minded martial artist, acupuncturist, alternative healer,
or anyone _actively_ interested in any of the above. 

APPLICATION PROCESS: 

A prospective member will send a subscription command to: 

owner-tuite@virginia.edu 

In the body of the message will only be one line of the form - 

subscribe <e-mail address> 

The subject of the subscription request mail should be SUBSCRIBE to provide
quicker response. 

For example, if Joe Blow at jb@somewhere.com wishes to subscribe, he would
send: 

subscribe jb@somewhere.com 

The list owner will receive the subscription request forward an application
to you.  Further instructions will be provided with this application.
Subscription will NOT be granted without having completed the application
process. 

Serious applicants only!  Participation is the key to our group.  If your
intention is to sign up, receive lots of in-depth knowledge from others,
and contribute nothing, do not apply. 

If everyone contributes - the whole will be greater than the sum of the
parts! 

POSSIBLE TOPICS FOR DISCUSSION:

- Traditional Chinese Medicine
- 5 Element Theory
- Yin/Yang Theory
- Kata or Forms bunkai as it relates to TCM
- Book/Video reviews
- Pressure point locations
- Pressure point Knock Outs
- Revival techniques


14.8) The Martial Arts Digest

To subscribe to Martial-Arts-Digest, send the command:
subscribe martial-arts-digest

in the body of a message to "Majordomo@majordomo.cso.uiuc.edu".  If you want
to subscribe something other than the account the mail is coming from,
such as a local redistribution list, then append that address to the
"subscribe" command; for example, to subscribe "local-martial-arts":

subscribe martial-arts-digest local-martial-arts@your.domain.net


14.9) Jujutsu and Kokikai Aikido Mailing Lists

To join one of the following lists, send an interactive message (if you
are on bitnet) or email (if you are on Internet) to either:

LISTSERV@PSUVM  (bitnet)
LISTSERV@PSUVM.PSU.EDU  (Internet)
with the message:

SUBSCRIBE Listname 'your full name'

Lists:

JUJUTSU   Jujutsu List
KOKIKAI   Kokikai Aikido List
(The AIKIDO-L list is discussed separately in section 14.6)


14.10) Japanese Sword Arts Mailing List and FTP site

iaido-l Japanese Sword Arts Mailing List

To join the Iaido list, send email to 'listserv@uoguelph.ca' with the
command:

subscribe iaido-l <your name>

The iaido-l FTP site is at foxsun.nscl.msu.edu, where people can log in 
anonymously and find all sorts of information in pub/iaido, including the Japanese 
Sword Arts FAQ and dojo lists for North America and Europe.
 

14.11) Chinese Shao-lin Center Electronic Mail List  (CSC-List)
  
PURPOSE: To provide information, class and training schedules for instructors 
and students (both active and non active) of Grand Master Sin Kwang The' 's 
Shao-lin System. 
 
INFO PROCESS: For more information on the CSC-list, send a note to:
dtheroff@ix.netcom.com. 
 
FEATURES: This is an informational mailing that comes out once every month.
The system also has a BBS that one can log into located in the San Francisco 
area at: 415-401-6307 (uses the FirstClass BBS product bu SoftArc)
The list is moderated by David Theroff


14.12) Martial Arts and Sword/TV and Film Mailing List

To sign up, send a message to listserv@psuvm.psu.edu, and write in the body
of the message: 

Subscribe mastvf-l Your name

Please note that the list name is entirely alpha (that's an L, not a 1),
and that you write your own name in where it says Your Name. 

To send messages to the list, send to mastvf-l@psuvm.psu.edu. Personal
messages to the listowner go to MaryAnnMc@aol.com. 

Please note that this list is unmoderated, but that no flaming will be
allowed!  Anyone violating this rule will be suspended from the list, and
if the problem persists, they will be unsubscribed. This is a friendly
list, and we want everyone to be comfortable and feel free to express
themselves without fear of having someone jump down their throat.  Also,
please note that this list is not echoed to or from usenet; there is no
direct newsgroup access. 

Digest format is available if you want all the day's messages collected in
one large post.  After you are subscribed, send a message to
listserv@psuvm.psu.edu, and put in the body of the message: 

 Set mastvf-l digest 

The purpose of this list is to discuss martial arts and sword work on tv
and in the movies, or conversely, to discuss any aspects of one's favorite
tv shows and movies that are oriented toward the martial arts and sword.. 
Discussions of individual episodes of other programs that are heavy on the
martial arts or sword are welcomed as well.


14.13) Tai-Chi Mailing List

The Tai-chi mailing list can be subscribed to by sending "subscribe
tai-chi" in the body of a message to listserv@netcom.com.


14.14) Neijia (Internal Chinese Martial Arts) Mailing List

Neijia (internal chinese martial arts) mailing list can be subscribed to by
sending "subscribe neijia" in the body of a message to
majordomo@lists.stanford.edu. 


14.15) Kyudo (Zen Archery) Mailing List

Kyudo, or zen archery, mailing list.  This list is a general disccsuion list 
about the topic of kyudo.  

(un)subscribe requests:
address:  	kyudo-l-request@teu1ws02.comp.pge.com
Subject Line:	(un)subscribe		

actual distribution list:
address:kyudo-l@teu1ws02.comp.pge.com

General questions queries comments and flames to:  teu1@pge.com (Tom Utiger)


14.16) "The-Dojang": Korean Martial Arts Mailing List

Do you practice Korean martial arts?  e.g. Tang Soo Do, HwaRang Do, Kuk Sool 
Won, Tae Kwon Do, Tae Kyon, Hapkido, etc.

Come practice with us at "the_dojang".  

the_dojang (and its digest form, the_dojang-digest) is an e-mail distribution
list for the discussion of Korean martial arts.

The new list is managed by Brent Chapman's "Majordomo".  To subscribe to 
the_dojang send e-mail to 

    majordomo@hpwsrt.cup.hp.com

with

    subscribe the_dojang


in the BODY of the message (not in the subject line).

To subscribe to the_dojang-digest, do the same as above but replace the_dojang
with the_dojang-digest.  Both lists receive the same traffic, the_dojang-digest
simply batches the e-mail into digest format.


14.17) Eskrima/Kali/Arnis Mailing List

Do you practice Eskrima/Kali/Arnis or some other Filipino martial art?         
                                                                               
If so, why not join the Filipino martial arts e-mail distribution list?        
The list exists for the purpose to discuss Filipino martial arts.              

'eskrima' (and its digest form, 'eskrima-digest') is an e-mail distribution
list for the discussion of Filipino martial arts.

The new list is managed by Brent Chapman's "Majordomo".  To subscribe to 
eskrima send e-mail to 

    majordomo@hpwsrt.cup.hp.com

with

  subscribe eskrima


in the BODY of the message (not in the subject line).

To subscribe to eskrima-digest, do the same as above but replace eskrima
with eskrima-digest.  Both lists receive the same traffic, eskrima-digest
simply batches the e-mail into digest format.

Mabuhay ang eskrima!


14.18) Martial Arts WWW pages

Isshin-Ryu Karate - http://www.physics.sunysb.edu:80/~gene/MA/isshinryu.html

World-Wide Martial Arts Supply - http://www.corp-reflection.com/dojo/index.html

Judo Information Site - http://www.rain.org/~ssa/judo.htm

West Los Angeles Karate School - http://www.pacificnet.net/~uno/wla_karate


14.19) Kung Fu Mailing List

The Kung Fu Mailing List is for the discussion of all traditional chinese
martial arts.  To join, all one has to do is send a message to
listserv@leper.tamu.edu with either 
 	subscribe kungfu
	  or
	subscribe kungfu-digest
	
in the body of the message.  The first is for a non-digest version while
the second is for people who just want to receive one daily digest of the
discussions. 
   
===============================================================================

15) Sources for material & equipment

North America

Academy of Karate Martial Arts Supplies
405 Black Horse Pike
Haddon Heights, NJ 08035
609-547-5445

BLT Supply Inc.
35-01 Queens Boulevard
Long Island City, N.Y. 11101-1720
(718) 392-5671 or (800)-322-2860 FAX:(718) 392-5705
Mail Order * Retail * Wholesale

California S and P Inc.
10545-B San Pablo Ave.; El Cerrito, CA 94530; USA
415-527-6032

Century Martial Art Supply, Inc. 
1705 National Blvd.; Midwest City, OK 73110; USA
800-626-2787

Chris Nickolas American Arts Karate
Martial arts supplies (wholesale/retail)
4858 S. Main St.
Akron, Ohio 44319
216-645-0818
Internet: mark.juszczec@bellhow.com

Defense Arts, Inc.
P.O. Box 1028; Smyrna, GA 30081; USA
404-434-0370

East West Markets Exchange, Inc.
5533 North Broadway; Chicago, IL 60640; USA
312-878-7711

Far East Books
2029 North Park St.
Halifax, Nova Scotia, Canada  B3K 4B2
902-422-8142  FAX 902-422-1998
Internet fareast@fox.nstn.ca
Chinese Martial Arts, Religions, and Healing Disciplines; catalogue available

Honda Martial Arts Supply Co.
61 West 23rd St.; New York, NY 10010; USA
800-USA-NYNY or 212-620-4050

Kim Pacific Martial Arts Supplies
1451 Doolittle Dr.; San Leandro, CA 94577; USA
800-227-0500

Kiyota Company
2326 North Charles St.; Baltimore, MD 21219; USA
800-783-2232 or 410-366-8275

Martial Arts Supplies Co., Inc.
10711 Venice Blvd.; Los Angles, CA 90034-6294; USA
213-870-9866

Macho Products
10045 102nd Terrace
Sebastian, FL 32978
800-327-6812
e-mail macho@bb.iu.net

Musashi Martial Arts
1842 S. Grand Ave.; Santa Ana, CA 92705; USA
714-557-4274

PAIS Enterprises
P.O. Box 518, Miliken Post Office; Milliken, Ontario, LOH 1K0, CANADA 
416-299-8168

S & P of New York Budo, Inc.
P.O. Box 2; Depew, NY 14043; USA
716-681-7911

Saghafi Enterprises
1604 Niagara Falls Blvd.; Tonawanda, NY 14150; USA
716-832-3322

Top Brands
Box 51331; New Orleans, LA 70151; USA
504-522-4540

World-Wide Martial Arts Supply
P.O. Box 3132
Bethlehem, PA  18017
martial.arts@corp-reflection.com
http://www.corp-reflection.com/dojo/index.html


Scandanavian Sources  (most from a MA chain store called SBI)

SBI BUDOSPORT
Sodra Forstadsgatan 66
Box 17092
200 10 Malmo  SWEDEN
Tel: +46 (0)40 101585  Fax  +46 (0)40 301405

SBI Stockholm
Torsgatan 40 (S:t Eriksplan)
113 62 Stockholm  SWEDEN
Tel +46 (0)8 308808  Fax +46 (0)8 331884

SBI Leksand
Insjovagen 48
790 30 Insjon  SWEDEN
Tel +46 (0)247 40654

SBI Umea
Backenvagen 87
902 51 Umea  SWEDEN
Tel +46 (0)90 31285

SBI Ostergotland
Nygatan 31A
582 24 Linkoping  SWEDEN
Tel +46 (0)13 126680

WOLFGANGS JUDO & SPORT
Box 88
820 77 Gnarp  SWEDEN
Tel +46 (0)625 20580

JT BUDOSPORT
Box 3022
850 03 Sundsvall  SWEDEN
Tel +46 (0)60 158002

SHINPRO
Gullberna Park
371 06 Karlskrona  SWEDEN
Tel +46 (0)455 27974

Intersport Lulea
Storgatan 26
951 31 Lulea  SWEDEN
Tel +46 (0)920 17320

Charles Harbour Sport
Gustavsborgsvagen 10
374 38 Karlshamn  SWEDEN
Tel +46 (0)454 19600

Budoshopen
Slakterigatan 6
721 32 Vasteras  SWEDEN
Tel +46 (0)21 143218

Orebro Gym & Kraftsportcenter
Drottninggatan 29 =
702 22 Orebro  SWEDEN

Fighter Sport Storgatan 37
Postboks 4781
0506 Oslo  NORWAY
Tel 22114055  Fax 22208708

SBI Fighter Shop
Jagtvej 70
2200 Kopenhavn N  DENMARK
Tel 35374700  Fax 35374702


16) What are the different Arts, Schools and Styles?

This is a question with many, many answers---some could say that there
are as many styles as there are martial artists.  So, we'd like to
introduce some Schools and Styles that will give you a basic familiarity 
with the world of martial arts.  The Arts are listed alphabetically.

Important note:  This information is true to the best of the knowledge of 
those who wrote the descriptions of the various arts.  If your style has 
only a small write up or none at all and you have enough information on it 
to make a good FAQ entry, write it up in the form shown below and send it 
to pals@ipact.com.

If you have a question about a particular style or its writeup, one option 
is to look in the next section for who contributed to the art's writeup, and
send e-mail to them.  Otherwise, comment to pals@ipact.com.

Contents of this section:

Part 1 of 2

16.1)  Aikido         16.2)  Bushidokan         16.3)  Capoeira
16.4)  Cha Yon Ryu    16.5)  Coung Nhu          16.6)  Hapkido
16.7)  Hsing Yi       16.8)  Hwa Rang Do        16.9)  Iaido
16.10) Judo           16.11) Jujutsu            16.12) Kajukembo
16.13) Kali/Escrima/Arnis

Part 2 of 2

16.14) Karate         16.15) Kendo              16.16) Kenjutsu 
16.17) Kenpo (Amer.)  16.18) Kempo (Ryukyu)     16.19) Kobudo 
16.20) Krav Maga      16.21) Kung Fu/Wu Shu     16.22) Kyudo  
16.23) Lua            16.24) Moo Do             16.25) Muay Thai
16.26) Ninjutsu       16.27) Pau Kua Chang      16.28) SAMBO
16.29) Savate         16.30) Shuai-Chiao        16.31) Silat
16.32) Tae Kwon Do    16.33) Tai Chi Chuan      16.34) Wing Chun


16.1) Aikido              

Intro:          

Aikido emphasizes evasion and circular/spiral redirection of an attacker's
aggressive force into throws, pins, and immobilizations as a primary
strategy rather than punches and kicks. 
 
Origin:         Japan. 
 
History:        

Aikido was founded in 1942 by Morihei Ueshiba (1883-1969). Prior to this
time, Ueshiba called his art "aikibudo" or "aikinomichi".  In developing
aikido, Ueshiba was heavily influenced by Daito Ryu Aikijujitsu, several
styles of Japanese fencing (kenjutsu), spearfighting (yarijutsu), and by
the so- called "new religion": omotokyo.  Largely because of his deep
interest in omotokyo, Ueshiba came to see his aikido as rooted less in
techniques for achieving physical domination over others than in attempting
to cultivate a "spirit of loving protection for all things."  The extent to
which Ueshiba's religious and philosophical convictions influenced the
direction of technical developments and changes within the corpus of aikido
techniques is not known, but many aikido practitioners believe that perfect
mastery of aikido would allow one to defend against an attacker without
causing serious or permanent injury. 
 
Descriptions:   

The primary strategic foundations of aikido are: 
(1) moving into a position off the line of attack; 
(2) seizing control of the attacker's balance by means of 
    leverage and timing; 
(3) applying a throw, pin, or other sort of immobilization 
    (such as a wrist/arm lock).  

Strikes are not altogether absent from the strategic arsenal of the
aikidoist, but their use is primarily (though not, perhaps, exclusively) as
a means of distraction -- a strike (called "atemi") is delivered in order
to provoke a reaction from the aggressor, thereby creating a window of
opportunity, facilitating the application of a throw, pin, or other
immobilization. 

Many aikido schools train (in varying degrees) with weapons. The most
commonly used weapons in aikido are the jo (a staff between 4 or 5 feet in
length), the bokken (a wooden sword), and the tanto (a knife, usually made
of wood, for safety). These weapons are used not only to teach defenses
against armed attacks, but also to illustrate principles of aikido
movement, distancing, and timing. 

Training:       

A competitive variant of aikido (Tomiki aikido) holds structured
competitions where opponents attempt to score points by stabbing with a
foam-rubber knife, or by executing aikido techniques in response to attacks
with the knife.  Most variants of aikido, however, hold no competitions,
matches, or sparring.  Instead, techniques are practiced in cooperation
with a partner who steadily increases the speed, power, and variety of
attacks in accordance with the abilities of the participants. Participants
take turns being attacker and defender, usually performing pre-arranged
attacks and defenses at the lower levels, gradually working up to
full-speed freestyle attacks and defenses. 
 
Sub-Styles:     

There are several major variants of aikido.  The root variant is the
"aikikai", founded by Morihei Ueshiba, and now headed by the founder's son,
Kisshomaru Ueshiba.  Several organizations in the United States are
affiliated with the aikikai, including the United States Aikido Federation,
the Aikido Association of America, and Aikido Schools of Ueshiba. 

Other major variants include:

* the "ki society", founded by Koichi Tohei, 
* yoshinkan aikido, founded by Gozo Shioda,
* the kokikai organization, headed by Shuji Maruyama,
* "Tomiki aikido" named after its founder, Kenji Tomiki.


16.2) Bushidokan

Intro:  An eclectic art of recent origin.

History:

Jim Harrison founded the first Bushidokan school in Kansas City in
the late 1960's, and although he lives (and teaches) today in Montana,
he continues to conduct self-defense seminars around the country.
In the late 1950's through mid-60's, Harrison was one of the top
judo players in the United States. Also in the late '50's, he began
studying Shorin-Ryu karate in St. Louis and became one of that
style's top practitioners. 

Description:

The Bushidokan Art is a combination of Okinawan karate, judo, and 
some JJ, with the primary emphasis on karate.  The karate portion of 
Bushidokan's training is quite similar to Shotokan - definitely Okinawan 
in ancestry.  Students have the option of learning some judo and/or 
JJ techniques, but it isn't required.

Bushidokan schools are not well-suited for those primarily interested
in the internal aspects of martial arts. Mizu no Kokoro ("mind like 
water") is performed at the end of the Taiso which starts each class,
but that is about the only direct reference to the internal. The
Taiso normally consumes about 30 percent of class time, with a very
strong emphasis placed on leg stretches and abdominal conditioning.

Bushidokan is best suited for those interested in effective street
self-defense, tournament fighting, and fairly rugged physical
conditioning. 

Training:

Although the style has evolved and been refined, the fundamentals
are as follows: Beginning students learn seven basic stances, seven
basic strikes (six linear, one circular), seven basic blocks (one of
which is circular) and seven basic kicks.

Many of the self-defenses taught incorporate techniniques not
included in the "basic" seven, thus exposing the student to a
greater variety.  These include a number of throws, a few soft
(redirecting) blocks, and several wrist/hand locks. Two basic
self-defense strategies - a direct counter and an indirect 
counter - are taught for each type of attack.

As students progress, they are introduced to sparring (usually after
about 2 to 4 months of training, depending on their progress) although
sparring is always optional for all students. Sparring classes range
from "no contact" to "full contact." These are usually karate
sparring, although some judo sparring occurs as well (usually in 
private lessons rather than in classes).

Students also are taught variations on the seven basic techniques, 
plus techniques that are suitable for sparring but that are not part
of the "basic seven" (such as hook kicks, and ushiro ura garuma.)

The style includes only two "official" katas, but students are 
encouraged to learn other (Shotokan) katas if they are interested.


16.3) Capoeira
		
Intro:          

This is a very acrobatic, very energetic Brazilian martial art.

Origin:         Brazil

History:        

In the 1500's, black slaves from Africa were used in Brazil to build the
empire of the sugar cane. These slaves lacked a form of self-defense, and
in a way quite parallel to Karate, they developed a martial-art with the
things they had in hand, namely, sugar cane knives and 3/4 staffs. Being
slaves, they had to disguise the study of the art, and that is how the
dance came into it. Their feet were manacled for most of the time, so the
art uses a lot of standing on the hands feet up, and some moves are
directed to fighting mounted enemies. 

In the early 1800's Capoeira was outlawed in Brazil, especially in its
"home state" of Bahia, where gangs utilized it as their personal fighting
style against police. 

Capoeira was born in the "senzalas", the places where the slaves were kept,
and developed in the "quilombos", the places where they used to run to when
they fled from their enslavers. 

Description:	

Capoeria consists of a stylized dance, practiced in a circle called the
"roda", with sound background provided by percussion instruments, like the
"agogo", the "atabaqui", etc.  The "Berimbau" is a non-percussion 
instrument that is always used on rodas.

Capoeira relies heavily on kicks and leg sweeps for attacks and dodges for
defenses.  Is not uncommon to not be taught any kind of hand strike of
parry, though arm positioning for blocks is taught. 

The "ginga", the footwork of Capoeira, consists in changing the basic
stance (body facing the adversary, front leg flexed with body weight
over it, the other leg strechted back) from the right leg to the left
leg again and again.

Capoeira also puts a heavy emphasis on ground fighting, but not grappling
and locks. Instead, it uses a ground stance (from the basic stance, you
just fall over your leg stretched back, flexing it, and leaving the front
leg stretched ahead), from which you make feints, dodges, kicks, leg
sweeps, acrobatics, etc. 

Hand positioning is important but it's used only to block attacks and
ensure balance, though street fighting "capoeiristas" use the hands for
punches. 

When fighting, it is rare to stop in one stance, and in this case, you just
"follow" your opponent with your legs, preventing him from getting close,
or preparing a fast acrobatic move to take advantage when he attacks. The
rest of the time, you just keep changing stances, feinting, and doing the
equivalent of boxing "jabs". 
    				
Training:

After a through warm-up, standing exercises are done, with emphasis on the
"ginga", the footwork characteristic of the art, and on the basic kicks:
"bencao", a front-stomping kick, "martelo", a roundhouse kick, "chapa", a
side-kick, "meia-lua", a low turning kick, "armada", a high turning kick,
"queixada", an outside-inside crescent kick. Then walking sequences are
done, with the introduction of sommersaults, backflips and headstands, in
couples and individual. Some more technical training follows, with couples
beginning a basic and slow "jogo", and then the whole class forms and goes
for "roda" game for at least 30 minutes.

Capoeira conditions and develops the muscles, especially the abdominal
muscles. 

Sub-Styles: 

Regional: Capoeira in a more artistic, open form, giving more way to
athletic prowess and training.

Angola: a more closed, harder style.

Iuna:	a totally athletic and artistic form of the art, where the couple
inside the "roda" play together, as opposed to one against the other. 


16.4) Cha Yon Ryu

Intro:  An eclectic, fairly new martial art.

History:

The Cha Yon Ryu ("Natural Way") system was founded in 1968 by Kim Soo of
Houston, Texas, who remains Director of the system.  Grand Master Kim, who
holds upper dan rankings in both tae kwon do and hapkido chose to
incorporate into the Cha Yon Ryu system techniques and forms from several
different martial arts. 

Description:

Tae Kwon Do contributes kicking techniques, strong stances and direct,
linear strikes and blocks, as does Shotokan Karate.  With the study of
movements from Okinawa te (Okinawa), the Cha Yon Ryu practitioner starts to
add techniques with some angularity to his/her repertoire, and eventually
progresses to the fluid, circular movements of Ch'uan Fa Kung Fu.  Hapkido
is the martial art from which are drawn defenses against chokes, grabs and
armed attacks, as well as various throwing and falling techniques. 

Training:

              The Dojang Hun  (Training Hall Oath)

Seek perfection of character
Live the way of truth
Endeavor
Be faithful
Respect your seniors
Refrain from violent behavior

Sub-Styles: None


16.5) Coung Nhu (pronounced "Kung New")

Intro:  Another eclectic, fairly new martial art.

Origin:  Vietnam 

History:

Founded in 1965 by Ngo Dong, the first US school opened in Gainesville FL
in 1971.  Master Dong currently resides in Florida; there are Cuong Nhu
schools in various places throughout the US and the world.  For more
information or the location of a school near you, the Cuong Nhu Oriental
Martial Arts Association can be reached at (904) 378-3466. 

Description:

Cuong Nhu is an integrated martial art blending hard aspects (Cuong in
Vietnamese) from Shotokan Karate, Wing Chun Kung Fu, and American Boxing,
with influences from the soft (Nhu in Vietnamese) arts of Judo, Aikido, and
Tai Chi, in addition to Vovinam, a Vietnamese martial art using both hard
and soft techniques. 

In keeping with its inclusive nature, Cuong Nhu instruction extends beyond
the traditionally martial to public speaking and philosophy. 

Training: [More info needed]

Sub-Styles: None(?)


*** Escrima - see "Kali/Escrima/Arnis"


16.6) HapKiDo

Intro:          

This Korean art is sometimes confused with Aikido, since the Korean and
Japanese translation of the names is the same. 

Origin:         Korea

History:        

Hapkido history is the subject of some controversy.

Some sources say that the founder of Hapkido, Choi, Yong Sul was a
houseboy/servant (some even say "the adopted son") of Japanese Daito Ryu
Aikijujutsu GrandMaster Takeda, Sokaku.  In Japan, Choi used the Japanese
name Yoshida, Tatsujutsu since all immigrants to Japan took Japanese names
at that time.  Choi's Japanese name has also been given as Asao, Yoshida by
some sources.  According to this view, Choi studied under Takeda in Japan
from 1913, when he was aged 9, until Takeda died in 1943.  However, Daito 
Ryu records do not reflect this, so hard confirmation has not been 
available.  Some claim that Choi's Daito Ryu training was limited to 
attending seminars.

Ueshiba, Morihei, the founder of Aikido, was also a student of Takeda (this 
is not disputed).  Hapkido and Aikido both have significant similarities to 
Daito Ryu Aikijujutsu, so it would seem that Hapkido's link to it is real, 
regardless of how and where Choi was trained.

Choi returned to Korea after Takeda's death and began studying Korean arts
and teaching Yu Sool or Yawara (other names for jujutsu), eventually
calling his kwan ("school") the Hapki Kwan.  Ji, Han Jae, began studying
under Choi and eventually started his own school, where he taught what he
called Hapkido, after the grandmaster's school.  Along the way, Hapkido
adopted various techniques from Tang Soo Do, Tae Kyon, and other Korean
kwans (schools).  

Korean sources may tend to emphasize the Korean arts lineage of Hapkido
over the Aikijujutsu lineage, with some even omitting the Aikijujutsu
connection.  However, as noted above, the connection can be seen in the 
techniques.

Ji now calls his system Sin Moo Hapkido.  He currently lives and teaches in
California, as does another former Choi student, Myung, Kwang Sik, who is
GrandMaster of the World Hapkido Federation. 

Some other Choi Hapkido students are still living.  Chang, Chun Il
currently resides in NY, and Im, Hyon Soo who lives and teaches in Korea. 
Both of these men were promoted to 9th dan by Choi.  One of the first
Hapkido masters to bring the art to the western culture was Han, Bong Soo. 

In the 1970's and 80's Hapkido was taught as the style of choice to
elite South Korean armed forces units.

Description:    

Hapkido combines joint locks, pressure points, throws, kicks, and strikes
for practical self-defense.  More soft than hard and more internal than
external, but elements of each are included.  Emphasizes circular motion,
non-resistive movements, and control of the opponent.

Although Hapkido contains both outfighting and infighting techniques, the
goal in most situations is to get inside for a close-in strike, lock, or
throw.  When striking, deriving power from hip rotation is strongly
emphasized. 

Training:

Varies with organization and instructor.  As a general rule, beginners
concentrate on basic strikes and kicks, along with a few joint locks and
throws.  Some of the striking and kicking practice is form-like, that is,
with no partner, however, most is done with a partner who is holding heavy
pads that the student strikes and kicks full power. 

Advanced students add a few more strikes and kicks as well as many more 
throws, locks, and pressure points.  There is also some weapons training 
for advanced students - primarily belt, kubatan, cane, and short staff.

Some schools do forms, some do not.  Some do sparring and some do not, 
although at the advanced levels, most schools do at least some sparring.
Many Hapkido techniques are unsuitable for use in sparring, as their use 
would result in injury, even when protective gear is used.  Thus, sparring 
typically uses only a limited subset of techinques.

There is generally an emphasis on physical conditioning and excercise, 
including "ki" exercises.

Sub-Styles: [more info needed]


16.7 HSING YI CHUAN (Xing Yi Quan)

INTRODUCTION:

Hsing Yi Ch'uan is one of the three orthodox "internal" styles of Chinese
martial art (the other two being T'ai Chi Ch'uan and Pa Kua Chang). "Hsing"
refers to form and "Yi" to the mind or intent. "Ch'uan" literally means fist
and denotes a method of unarmed combat. Hsing Yi Ch'uan is commonly refered to
as "Form and Mind" or "Form and Will" boxing. The name illustrates the strong
emphasis placed on motion being subordinate to mental control.

ORIGIN:  Shan Hsi Province, China.

HISTORY:

The exact origins of Hsing Yi Ch'uan are unknown. The creation of the Art is
traditionally attributed to the famous general and patriot Yueh Fei (1103-
1141) of the Sung Dynasty. There is, however, no historical data to support
this claim. The style was originally called "Hsin Yi Liu He Ch'uan" (Heart
Mind Six Harmonies Boxing). The Six Harmonies refer to the Three Internal
Harmonies (the heart or desire coordinates with the intent; the intent
coordinates with the ch'i or vital energy; the ch'i coordinates with the
stength), and the Three External Harmonies (the shoulders coordinate with the
hips; the elbows coordinate with the knees and the hands coordinate with the
feet).

The earliest reliable information we have makes reference to Chi Lung Feng
(also known as Chi Chi Ke) of Shan Hsi Province as being the first to teach
the art of Hsin Yi Liu He Ch'uan. Chi Lung Feng was active near the end of the
Ming Dynasty (early 1600's) and was a master of spear fighting (he had the
reputation of possessing "divine" skill with the spear). He is recorded as
stating "I have protected myself in violent times with my spear. Now that we
are in a time of "peace" and our weapons have all been destroyed, if I am
unarmed and meet the unexpected, how shall I defend myself?" In answer to his
own question, Chi Lung Feng reportedly created a style of weaponless combat
based on his expertise with the spear. He refered to his art as "Liu He," the
Six Harmonies.

Chi Lung Feng had two very famous students. One was from from He Bei province
and was named Ts'ao Chi Wu. The other was from He Nan Province and was named
Ma Hsueh Li. It was at this point in history that the Hsin Yi Liu He Ch'uan
(now also refered to as Hsing Yi Ch'uan) divided into three related yet
separate styles, the Shan Hsi, He Nan and He Bei schools. After spending 12
years studying Hsin Yi Ch'uan with Chi Lung Feng, Ts'ao Chi Wu entered the
Imperial Martial Examinations and placed first (this was the most prestigious
honor one could possibly win as a martial artist in old China, and assured the
victor a high government position). Ts'ao passsed on his art to two brothers,
Tai Lung Pang and Tai Lin Pang.

Tai Lung Pang passed his Art on to Li Luo Neng (also known as Li Neng Jan). Li
holds the distinction of being the greatest Hsing Yi Boxer in the styles'
history and one of the top Chinese boxers of all time. Li Luo Neng taught his
art in his native Shan Hsi Province and also taught a great number of students
in He Bei Province (his duties as a bodyguard involved escorting various
members of wealthy families to and from He Bei). Two of Li's most famous Shan
Hsi students were Sung Shi Jung and Che Yi Chai. His most famous He Bei
student was the formidable Kuo Yun Shen (who reportedly defeated all comers
with his "Beng Ch'uan," a straight punch to the body). Kuo Yun Shen passed on
his art to Wang Fu Yuan, Liu Ch'i Lan and Sun Lu Tang among others; Liu Ch'i
Lan passed on the Art to the most famous practitioners of this century,
including Li Ts'un Yi and Chang Chan Kuei (also known as Chang Chao Tung).
There are many practitioners of all three sub-systems active today, and Hsing
Yi Ch'uan is still a popular and well respected style of martial art in China.

DESCRIPTION:

The art is divided into two main systems, the Ten Animal and Five Element
respectively. The Five Element system is further divided into two major
branches, the He Bei and Shan Hsi styles. The Ten animal style is closest to
the original Hsin Yi Liu He Ch'uan in form and practice. The movements in the
forms are patterned after the spirit of various animals in combat, including
the Dragon, Tiger, Monkey, Horse, Chicken, Hawk, Snake, Bear, Eagle and
Swallow. The Five Element based systems have five basic forms (including
Splitting, Drilling, Crushing, Pounding, and Crossing) as the foundation of
the art. These basic energies are later expanded into Twelve Animal forms
which include variations of the animal forms found in the Ten Animal styles as
well as two additional animals, the Tai (a mythical bird) and the Tuo (a type
of water lizard, akin to the aligator). Training in all systems centers on
repetitive practice of single movements which are later combined into more
complicated linked forms.

The direction of movement in Hsing Yi Ch'uan forms is  predominately linear.
Practitioners "walk" through the forms coordinating the motions of their
entire bodies into one focused flow. The hands, feet and torso all "arrive"
together and the nose, front hand and front foot are along one verticle line
when viewed from the front (san jian hsiang chiao). The arms are held in front
of the body and the practitioner lines up his or her centerline with
opponent's centerline. A familiar adage of Hsing Yi Ch'uan is that "the hands
do not leave the (area of the) heart and the elbows do not leave the ribs."
There are few kicks in the style and the techniques are of a predominately
percussive nature. Great emphasis is placed upon the ability to generate power
with the whole body and focus it into one pulse which is released in a sudden
burst.

Hsing Yi is characteristically aggressive in nature and prefers to move into
the opponent with a decisive blow at the earliest opportunity. The style
prizes economy of motion and the concept of simultaneous attack and defense.
As the name of the style implies, the form or "shape" of the movements is the
outward, physical manifestation of the "shape" of one's intent. A fundamental
principle underlying all styles of Hsing Yi Ch'uan is that the mind controls
and leads the movement of the body.

TRAINING:

Training in He Nan (Ten Animal) Hsin Yi Liu He Ch'uan includes basic movements
designed to condition and develop the striking ability of the "Seven Stars"
(the head, shoulders, elbows, hands, hips, knees and feet). From there the
student will progress to learning the basic animal forms. Form practice
consists of repeating single movements while walking foward in various
straight line patterns. Later, the single movements are combined into linked
forms. The techniques are relatively simple and straightforeward and rely on
the ability to generate force with almost any part of the body (the Seven
Stars). Also included at more advanced levels are weapons forms (including the
straight sword, staff and spear).

The Five Element based styles of Hsing Yi Ch'uan (Shan Hsi and He Bei)
traditionally begin training with stance keeping (Chan Chuang). The
fundamental posture is called "San Ti" (Three Bodies) or "San Ts'ai" (Three
Powers, refering to heaven, earth and man). It is from this posture that all
of the movements in the style are created and most teachers place great
emphasis upon it. After stance keeping the student begins to learn the Five
Elements (Wu Hsing). These are the basic movements of the art and express all
the possible combinations of motion which produce percussive power. After a
certain level of proficiency is acquired in the practice of the Five Elements,
the student goes on to learn the Twelve Animal and linked forms. The Twelve
Animal forms are variations of the Five Elements expressed through the format
of the spirit of animals in combat. There are several two-person combat forms
which teach the student the correct methods of attack and defense and the
applications of the techniques practiced in the solo forms. Five Element based
styles also include weapons training (the same weapons as the He Nan styles).

SUBSTYLES:

As mentioned above, Hsing Yi Ch'uan is divided into three related yet distinct
styles: He Nan Hsin Yi Liu He Ch'uan and Shan Hsi/He Bei Hsing Yi Ch'uan.

He Nan Hsin Yi Liu He Ch'uan is characterized by powerful swinging movements
of the arms and the ability to strike effectively with every part of the body.
This system is very powerful and aggressive in nature and the movements are
simple and straightforeward.

He Bei style Five Element Hsing Yi Ch'uan emphasizes larger and more extended
postures, strict and precise movements and powerful palm and fist strikes.

Shan Hsi style Five Element Hsing Yi Ch'uan is characterized by smaller
postures with the arms held closer to the body, light and agile footwork and a
relatively "softer" approach to applying technique (Shan Hsi Hsing Yi 
places a greater emphasis on evasiveness than the other styles).


16.8) Hwa Rang Do

Intro:

Translated, Hwa Rang Do means "the way of flowering manhood".

Origin:		Korea

History:

Hwa Rang Do history is sometimes traced back to around 540 A.D. when King 
Chinhung came to power in Silla, a small kingdom on the southern tip of the 
Korean peninsula.  He created the Hwa Rang warrior, and had them taught 
martial arts by Buddhist priests.  Some sources claim that the art was then 
handed down (taking refuge in Buddhist temples for a long period of time) 
to modern times.

However, the connections between the martial arts practiced by the Hwa Rang
warriors and what is now called Hwa Rang Do are tenuous at best.  Modern
Hwa Rang Do seems more likely to be a combination of several other Korean
arts, Hapkido prominent among them. 

Lee, Joo Bang and his brother Joo Sang began teaching Hwa Rang Do in the 
1960s and are the most senior Masters of the art.  It has been reported by 
other Korean martial artists that the Lee brothers studied Hapkido under 
Choi, Yong Sul for a time prior to that.

Description:

Hwa Rang Do is a fairly complete art encompassing throws, joint locks,
strikes, and kicks.  Its description would closely parallel Hapkido's.

Training:  [more info needed]

Sub-styles:  None

 
16.9) Iaido             

Intro:          The Art of drawing the sword for combat.

Origin:         Japan

History:

This art is very old, and has strong philosophical and historical ties to
Kenjutsu.  It was practiced by Japanese warriors for centuries. 

Description:    

The object is to draw the sword perfectly, striking as it is drawn,  so
that the opponent has no chance to defend against the strike. 

Training:  

Usually practiced in solo form (kata), but also has partner forms
(kumetachi).

Sub-Styles:     Muso Shinden Ryu, Muso Jikishin Ryu, and others.


16.10)  Judo                        

Intro:          

Judo is a sport and a way to get in great shape, but is also very useful 
for self-defense.

Origin:         Japan

History:        

Judo is derived from Jujutsu (see Jujutsu). It was created by Professor
Jigoro Kano who was born in Japan in 1860 and who died in 1938 after a
lifetime of promoting Judo. Mastering several styles of jujutsu in his
youth he began to develop his own system based on modern sports principles.
In 1882 he founded the Kodokan Judo Institute in Tokyo where he began
teaching and which still is the international authority for Judo. The name
Judo was chosen because it means the "gentle way". Kano emphasised the
larger educational value of training in attack and defense so that it could
be a path or way of life that all people could participate in and benefit
from. He eliminated some of the traditional jujutsu techniques and changed
training methods so that most of the moves could be done with full force to
create a decisive victory without injury. 

The popularity of Judo increased dramatically after a famous contest hosted
by the Tokyo police in 1886 where the Judo team defeated the most
well-known jujutsu school of the time. It then became a part of the
Japanese physical education system and began its spread around the world.
In 1964 men's Judo competition became a part of the Olympics, the only
eastern martial art that is an official medal sport. In 1992 Judo
competition for women was added to the Olympics. 

Description:    

Judo is practiced on mats and consists primarily of throws (nage-waza),
along with katame-waza (grappling), which includes osaekomi-waza (pins),
shime-waza (chokes), and kansetsu-waza (armbars). Additional techniques,
including atemi-waza (striking) and various joint locks are found in the
judo katas.  Judo is generally compared to wrestling but it retains its
unique combat forms.  As a daughter to Jujutsu these techniques are also
often taught in Judo classes. 

Because the founder was involved in education (President of Tokyo 
University) Judo training emphasizes mental, moral and character 
development as much as physical training.  Most instructors stress the 
principles of Judo such as the principle of yielding to overcome greater 
strength or size, as well as the scientific principles of leverage, 
balance, efficiency, momentum and control.

Judo would be a good choice for most children because it is safe and fun.

Training:       

Judo training has many forms for different interests.  Some students 
train for competition by sparring and entering the many tournaments that 
are available.  Other students study the traditional art and forms (kata)
of Judo.  Other students train for self-defense, and yet other students 
play Judo for fun. Black belts are expected to learn all of these aspects 
of Judo.

Sub-Styles:

Because Judo originated in modern times it is organized like other major
sports with one international governing body, the International Judo
Federation (IJF), and one technical authority (Kodokan).  There are several
small splinter groups  (such as the Zen Judo Assoc.) who stress judo as a
"do" or path, rather than a sport. 

Unlike other martial arts, Judo competition rules, training methods, and
rank systems are relatively uniform throughout the world. 


16.11) Jujutsu             

Intro:

Old, practical, fighting art.  A parent to Judo, Aikido, and Hapkido.

Origin:         Japan
	
History:        

The begining of Ju-jutsu can be found in the turbulent period of Japanese
history between the 8th and 16th Century.  During this time, there was
almost constant civil war in Japan and the classical weaponed systems were
developed and constantly refined on the battle field.  Close fighting
techniques were developed as part of these systems to be use in conjunction
with weapons against armoured, armed apponents.  It was from these
techniques that Ju-jutsu arose. 

The first publicly recognised Ju-jutsu ryu was formed by Takenouchie
Hisamori in 1532 and consisted of techniques of sword, jo-stick and dagger
as well as unarmed techniques. 

In 1603, Tokugawa Ieyasu brought peace to Japan by forming the Tokugawa
military government.  This marked the beginning of the Edo period of
Japanese history (1603-1868), during which waring ceased to be a dominant
feature of Japanese life. 

In the beginning of this period there was a general shift from weaponed
forms of fighting to weaponless styles.  These weaponless styles were
developed from the grappling techniques of the weaponed styles and were
collectively known as ju-jutsu. During the height of the Edo period, there
were more than 700 systems of jujutsu. 

The end of the Edo was marked by the Meiji Restoration, an abortive civil
war that moved power from the Shogun back to the Emperor.  A large
proportion of the Samurai class supported the Shogun during the war. 
Consequently, when power was restored to the Emperor, many things related
to the Samurai fell into disrepute.  An Imperial edict was decreed,
declaring it a criminal offence to practice the old style combative martial
arts.  During the period of the Imperial edict, Ju-jutsu was almost lost. 
However, some masters continued to practice their art "under-ground", or
moved to other countries, allowing the style to continue.  By the mid
twenty century, the ban on ju-jutsu in Japan had lifted, allowing the free
practicing of the art. 

Description:    

The style encompasses throws, locks, and striking techniques, with a strong
emphasis on throws, locks, and defensive techniques.  It is also
characterized by in-fighting and close work.   It is a circular, hard/soft,
external style. 

Training:       Practical with a heavy emphasis on sparring and mock combat.

Sub-Styles:     
		
There are many, each associated with a different "school" (Ryu).  Here is a 
partial list: Daito Ryu, Danzan Ryu, Shidare Yanagi Ryu, Hokuto Ryu, Hontai 
Yoshin Ryu, Sosuishi Ryu, Kito Ryu, Kyushin Ryu.  

A more modern addition to this list is "Gracie Jujutsu", so named because
of its development by the Gracie family of Brazil.  Gracie Jujutsu (or GJJ
as it has come to be known on rec.martial-arts) has a heavy emphasis on
grappling/groundfighting.  The Gracies have come into public promenence
over the past year or two through a series of "no rules" martial arts
contests known as the Ultimate Fighting Championships (UFC), some of which
have been won by Royce (pronounced "Hoyce" in the Portugese language) Gracie. 


16.12) Kajukembo           

Intro:          

An eclectic martial art that is a blend of Karate, Judo, Kempo, and Boxing,
from which arts it takes its name. 

History:  

Kajukembo was synthesized in the Palomas settlements of Hawaii during the
years 1949-1952.  Five practitioners of their respective martial arts
developed Kajukembo to complement each others styles to allow effective
fighting at all ranges and speeds.  The man credited with the founding of
Kajukembo is Siju Adriano D. Emperado who practiced kempo and escrima.  It
was decided that kempo would be the scafolding around which Kajukembo was
built.  The arts drawn upon to found Kajukembo are Tang soo do, judo,
ju-jitsu, kempo, and chu'an fa gung fu (Chinese boxing); hence the name
Ka-ju-kem-bo (Tang Soo Do was shortened as a form of karate, even though
that is technically incorrect).  

To test the effectiveness of their origional techniques the five founders
would get into fights around the Palomas settlements (the worst slum in
Hawaii at the time).  If the technique succeeded consistently in
streetfighting it was kept as part of the system.  From these field test
came Kajukembo's Quins (known as the Palomas sets (forms or kata)), Natural
laws (self-defense), Tricks (close-quarters fighting), and grab arts
(escapes). 

Description: 

Kajukembo concentrates on being an effective art at all ranges of fighting,
kicking -> Punching -> Trapping -> Grappling.  While many schools of karate
and Korean martial arts concentrate on kata, Kajukembo stresses the
self-defence movements over the relatively fewer forms in the art.  The
reasoning behind this is that a practitioner must be capable of defending
himself in streetfighting situations before turning inward to perfect the
'art' of Kajukembo.  At higher levels there is meditative and chi training,
but the author cannot comment further at his level of experience.     

Kajukembo stresses the following-up of techniques based on an opponents
reactions and not stopping with just one hit.  The reasoning is that while
one should strive to end a fight with the fewest techniques nessesary, it
is important to know how an opponent will respond to attacks, and how best
to take advantage of his reactions.  A major ethical point behind my
instruction was, "If he starts the fight, you decide when the fight is
over." 
  
Training:  

The training is physically intense and very demanding.  Exercise is a part
of the class structure to insure that practitioners will be physically
capable of defending themselves outside of the dojo.  The warm-up and
callistenics typically last 1/3 of the class period.  Emphasis is placed on
bag work (kick, punching, elbows, and knees) as well as sparring and
grappling (contact with control). After a certain amount of time training,
students begin to throw real punches at each other and their partner is
expected to react appropriately or face the consequences.  Learning to
absorb and soften an impact is also a major facet of training.  Quins
(kata) are performed to fine-tune a person's movements while working with
partners for self defense teaches a student how to manipulate an opponent
and follow up on his reactions. 

Sub-Styles:

Kajukenpo,  formed in 1970 by Algene Caraulia, and headquartered in 
Cleveland, Ohio (from Anthony Schaaf <adschaaf@mtu.edu>).


16.13) Kali/Escrima/Arnis

Intro:

Kali, Escrima, and Arnis are all terms for the native fighting arts of the
Philippines, specifically the arts that use weapons.

Arnis is a Northern Term, Escrima more Central, and Kali is from the South.
In this view, the terms just refer to indigenous weapons fighting systems. 
Arnis would be the term used in Northern Luzon, Escrima from Manila through
the central islands, and Kali on Mindanao.  People who use this definition
tend to say that the words don't matter - every village, and often every
master, has a distinct style, and that's what the important thing is - "do
you study Illustrisimo, Caballero, or Cabales style?"  Not "do you study
escrima or kali?" 

Origin:         The Phillipines

History:

Kali is an older art than Escrima or Arnis, and more comprehensive. 
Escrima and Arnis were developed as streamlined, simplified ways to teach
people to fight the Spanish invaders.  Hence, Kali is more of a "warrior's
art" while Escrima and Arnis are "soldier's arts".  Kali is usually
considered to have 12 areas of combat, with Escrima containing 8 or 9 of
them, and Arnis 4 to 6. 

Description:    

The "full" coverage alluded to above usually contains the following:

      1   Single Stick (or long blade)
      2   Double long weapon
      3   Long & Short (sword & dagger, e.g.)
      4   Single dagger
      5   Double Dagger
      6   Palm Stick/Double-end Dagger
      7   Empty Hands (punching, kicking, grappling)
      8   Spear/Staff, long weapons (two-handed)
      9   Flexible weapons (whip, sarong, etc.)
     10   Throwing weapons
     11   Projectile weapons (bows, blowguns)
     12   Healing arts

A further distinction that some people make is to say that Kali is, at its
heart, a blade art, while Escrima and Arnis are designed to work with
sticks.  This is a matter of some contention among practitioners of the
various styles and schools. 

A distinctive feature of all of these Filipino arts is their use of
geometry. In strikes/defenses and movement, lines and angles are very
important. In addition, the independent use of the hands, or hands and
feet, to do two different things at the same time, is a high-level skill
sought after a fair amount of experience. 

Training:

Filipino styles normally classify attacks not by their weapon, or their
delivery style, but by the direction of their energy - for example, a
strike to the head is usually analyzed in terms of "a high lateral strike."
A punch to the gut is treated much the same as a straight knife thrust to
that region would be. Students learn how to deal with the energy of the
attack, and then apply that knowledge to the slight variations that come
with different lengths and types of weapons. 

Filipino arts place great emphasis on footwork, mobility, and body
positioning. The same concepts (of angles of attack, deflections, traps,
passes, etc.) are applied to similar situations at different ranges, making
the understanding of ranges and how to bridge them very important. The
Filipinos make extensive use of geometric shapes, superimposing them on a
combat situation, and movement patterns, to teach fighters to use their
position and their movement to best advantage. Some styles emphasize
line-cutting (a la Wing Chun), while some are very circular (like Aikido).
Some like to stay at long range, some will move inside as soon as possible.
These differences are hotly debated, as are most things, but they all work
differently for different people. 

Most Filipino arts, but Kali in particular, stress the importance of
disarming an opponent in combat. This is not usually done gently, but by
destroying an attacking weapon (break the hand, and the stick will fall.) 

Sub-Styles: None; Kali, Escrima, and Arnis are themselves sub-styles of Silat. 


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